उन दिनों पृथ्वीराज कपूर शकुंतला नाम अपना एक नाटक शुरू करने की तैयारी कर रहे थे। एक दिन एक लड़का उनसे मिला। उस लड़के ने गुज़ारिश की कि आप मुझे भी कोई काम इस नाटक में दे दीजिए। पृथ्वीराज कपूर ने लड़के से पूछा कि तुम क्या करते हो। लड़के ने जवाब दिया कि मैं तबला बजा लेता हूं। हारमोनियम भी बजा लेता हूं। डांस भी कर लेता हूं। और कभी-कभार नाटकों में इक्के-दुक्के डायलॉग्स भी स्टेज पर बोल चुका हूं। उस लड़के के मुंह ये से बात सुनकर पृथ्वीराज कपूर कपूर बड़े प्रभावित हुए। उन्होंने लड़के से दादर आने के लिए कहा। दादर में एक जगह थी जहां अक्सर नाटकों रिहर्सलें चला करती थी।
पृथ्वीराज कपूर के बताए वक्त पर वो लड़का दादर पहुंच गया। लड़के ने देखा कि वहां तो बहुत बड़े-बड़े कलाकार बैठे हैं। लड़का थोड़ा झिझका। उसे लगा कि इतने बड़े कलाकारों के सामने मैं तो कुछ भी नहीं हूं। मैं क्या ही कर पाऊंगा यहां। लड़का इन्हीं ख्यालों में खोया था कि पृथ्वीराज कपूर ने आवाज़ देकर उसे अपने पास बुलाया। ये पूरा घटनाक्रम 1940 के आस-पास का है। पृथ्वीराज कपूर ने उस लड़के से कहा कि तबला बजाकर सुनाओ। लड़का तैयार हो गया। इत्तेफाक से वहां नामी सरोद वादक उस्ताद अली अकबर खान साहब भी मौजूद थे। पृथ्वीराज कपूर ने लड़के से कहा कि इनके साथ संगत करो।
लड़के ने पृथ्वीराज कपूर से कहा कि आप पहले मुझे दो मिनट सोलो तबला बजाने का मौका दे दीजिए। फिर मैं अली अकबर खान जी के साथ संगत कर लूंगा। पृथ्वीराज कपूर ने लड़के को सोलो बजाने की इजाज़त दे दी। और फिर जो लड़के ने तबला बजाया, कि जिसने भी सुना वो सुनता रह गया। खूब तालियां बजी। पृथ्वीराज कपूर भी बहुत खुश हुए। उन्होंने ऐलान कर दिया कि अब से ये लड़का पृथ्वी थिएटर का अहम सदस्य होगा। उस लड़के का नाम था शंकर सिंह रघुवंशी। वही शंकर सिंह रघुवंशी जो आगे चलकर शंकर-जयकिशन की ज़बरदस्त संगीतकार जोड़ी में से एक था।
आज शंकर सिंह रघुवंशी जी की पुण्यतिथि। है। साल 1987 की 26 अप्रैल को 65 साल की उम्र में शंकर सिंह रघुवंशी जी का निधन हो गया था। जबकी इनका जन्म हुआ था 15 अक्टूबर 1922 को। पृथ्वीराज कपूर जी के थिएटर ग्रुप पृथ्वी थिएटर से जुड़ने के बाद शंकर सिंह जी ने खूब टूर्स किए। और उनका काम था नाटकों के वक्त हुस्नलाल-भगतराम के असिस्टेंट की हैसियत से लाइव तबला बजाना। कभी-कभार वो छोटे-मोटे रोल भी पृथ्वी थिएटर के नाटकों में निभा लिया करते थे।
शंकर सिंह जी की बात हो रही है तो ये बात भी होनी चाहिए कि जयकिशन जी संग उनकी जोड़ी कैसे बनी थी। तो हुआ कुछ यूं था कि जयकिशन दयाभाई पांचाल गुजरात से मुंबई करियर बनाने के इरादे से आए थे। वो हारमोनियम के उस्ताद थे और संगीत उन्हें विरासत में मिला था। मुंबई आने के बाद जयकिशन जी ने एक फैक्ट्री में टाइमकीपर की नौकरी शुरू कर दी। नौकरी से मिलने वाले फुर्सत के वक्त में वो संगीत जगत में नाम बनाने के लिए संघर्ष कर रहे थे। एक दफा गुजराती फिल्मों के उस वक्त के नामी डायरेक्टर चंद्रवर्दन भट्ट के ऑफिस के बाहर जयकिशन जी शंकर जी से मिले।
बातों-बातों में जब शंकर जी को पता चला कि जयकिशन हारमोनियम बहुत अच्छा बजाते हैं तो शंकर जी ने इन्हें सलाह दी कि आप पृथ्वी थिएटर आ जाओ। वहां हारमोनियम बजाने वाले की ज़रूरत है। हो सकता है आपको वो नौकरी मिल जाए। शंकर जी के कहे मुताबिक जयकिशन जी पृथ्वी थिएटर गए और उन्हें वहां बतौर हारमोनियम नवाज़ रख लिया गया। अब आलम ये था कि पृथ्वी थिएटर के सभी नाटकों में शंकर जी तबला बजाते थे। और जयकिशन जी हारमोनियम बजाते थे। इन दोनों काम सबको अच्छा लगता था। एक दिन राज कपूर ने इन दोनों को नोटिस किया।
राज कपूर उन दिनों अपनी डायरेक्टोरियल डेब्यू आग पर काम शुरू करने जा रहे थे। उन्होंने शंकर जयकिशन को आग के म्यूज़िक डायरेक्टर राम गांगुली का सहयोगी बनने का ऑफर दिया। इन दोनों ने राम गांगुली की गाइडेंस में आग के म्यूज़िक पर काम किया। इस दौरान राज कपूर शंकर सिंह रघुवंशी जी से बड़े प्रभावित हुए। उन्हें शंकर जी का म्यूज़िक सेंस बहुत पसंद आता था। इसलिए जब राज कपूर ने अपनी नेक्स्ट फिल्म बरसात अनाउंस की तो उसमें म्यूज़िक कंपोज़ करने का काम उन्होंने शंकर सिंह रघुवंशी जी को दिया। और चूंकि शंकर सिंह रघुवंशी अब तक जयकिशन जी के बहुत अच्छे दोस्त बन चुके थे तो उन्होंने राज कपूर से गुज़ारिश की कि क्यों ना इस फिल्म से जयकिशन जी को भी जोड़ा जाए। क्योंकि उनकी ज़रूरत तो पड़नी ही है।
तो साथियों, इस तरह फॉर्म हुई बॉलीवुड की एक बहुत स्पेशल और शानदार संगीतकार जोड़ी, शंकर ज़यकिशन की जोड़ी। बरसात का म्यूज़िक ज़बरदस्त हिट हुआ। शंकर-जयकिशन के कहने पर ही लता मंगेशकर जी ने बरसात में आठ गीतों में अपनी आवाज़ दी। और लता जी को भी बरसात के गीतों से बहुत लोकप्रियता मिली। किस्सा टीवी शंकर-जयकिशन जी को नमन करता है। खासतौर पर शंकर सिंह रघुवंशी जी को। क्योंकि आज उनकी पुण्यतिथि है। #shankajaikishan #shankarsinghraghuvanshi
Shanker jaikishen have many firsts in filmdom.The 1st Englsh film by an Indian music director was Tarzan goes to India( 1964) had music by the duo.They didn’t stop with that.In 1970 they scored the music for another English film Bombay Talkie by Merchant Ivory Productions. The film starred the star couple sashikapoor and Jennifer kendl.The film had only four songs.The title music itself was a novelty.Normally in SJ films the title Music will have the tune of title or theme song or the would-be -hit song of the film or a few songs of the film.Here Jaikishen making himself as a singer hums a tune throughout the title card show time interspersed with music and it is quite scintillating too. This was only film wherein he has crooned..Rafi’s song a romantic one ‘Tum mere pyar ki was full of modulations and variations and as usual he sings with gusto.A dùet by kishore and asha Typewriter tip tip karta hai was a popular song. One more novelty they tried here is that they engaged the then Usha Iyer (now Usha uthup) who then was only a stage singer singing Indian pop,jaaz etc in the stage alone.They brought her to the film world and gave her two pop songs “Hari om tatsat’ and Good times and Bad times’ which were sung by her in her own fervor and style.They became great hits because of which she was assigned by the music directors like RDB, Bappie lahiri etc who were trying their hands in western music very often.Such is the creativity of the duo who are always thinking about bringing new materials in their music.
In the photo we can see Hasrat sitting and verifying the lyrics and the young Usha Iyer (Usha uthup) and jaikishen and others.
As Shankar Jaikishan Fans, we have all read and heard about the spectacular music shows and their stupendous success. The record breaking attendance and funds collected at their shows is a matter of wonder cos never before or after were such events held.
Following is a write-up by one of our members, Dennis Shah, who was fortunate enough to have attended one of SJ shows and remembers it vividly to this day.
This is verbatim of an ardent Shankar Jaikishan fan, Mr. Dennis Shah, who was a witness to one of the most memorable events in the history of music. Read on…
I have been a member of this forum for a number of years now. I can’t say that I have read every post in this forum over the years nor have I contributed to this forum but as far as I can remember I have not come across news coverage or personal reminisces, eye witness accounts of the S-J performing live. Yes, I have seen the multipart clips on YouTube of SJ Night held in 1970 at the famous Shanmukhanand Hall in Mumbai. I am not sure if many SJ devotees know that there was another event similar to the one held in Mumbai in 1970. Subsequently another SJ Night was held in Ahmedabad. Matter of fact two nights were held back to back on consecutive evenings in Ahmedabad.
I am not entirely sure about the dates but going by my personal time line it would have taken place in 1970 or more likely 1971. I do distinctly remember the two venues where the SJ night took place. The first of the two events was held in a more exclusive and intimate setting at the Seth Mangaldas town hall and the other, the bigger of the two, star studded event was held the next day before an audience of thousands in an open air arena – the newly constructed Police Stadium in Shahibaug Ahmedabad. I had the good fortune of being present at the former event.
Unfortunately, I do not have the precise dates as well as the complete details of the circumstances surrounding the events. Nor was I in the habit of maintaining a dairy. Suffice to say that both the events were fund raisers. I vaguely recall that the first night was organized by the Rotary Club for the benefit of either the Red Cross society or the Soldiers Fund.
I have no specific firsthand knowledge details of much bigger event held at the Police Stadium. The event was covered by Times of India Ahmedabad edition as well as in the vernacular press. This was the star studded event with Raj Kapor , Rajesh Khanna along with other major stars and among the actresses I believe Mala Sinha was present as well.
A recent visit to Ahmedabad brought back many memories of this remarkable evening while I was going through the mementoes and memorabilia of my youth and found Shardaji’s autographed picture that I had managed to obtain on that day. That re-discovery led me to share with the members of this forum my recollections of that event for what it is worth. I hope my recollection will be of some interest to SJ fans and will add to the growing body of information and opinion on SJ that is accumulating on-line.
As I have mentioned before the first event was a more exclusive event held at the historic town hall. This venue has had an illustrious history in the cultural life of Ahmadabad. It has hosted luminaries of classical music, the giants of the Gujarati stage, the greats and near greats of the Bombay film and music world as well as countless local college talent shows. Ahmadabad town hall was also the venue of Begum Akhtar’s last concert before she passed away later that same evening.
My being there for the first ever SJ night in Ahmedabad happened in a most serendipitous manner. Since the local electric utility company my father worked for was a major sponsor of the event, the complimentary passes were given to the CEO of the company who offered my dad some of the passes who probably told the boss that I might be interested. All this happened in a matter of hours on the day of the concert and I was whisked away in the boss’s car and found myself sitting in the second or third row of the Shankar Jaikishan and Their Music Shows
As Shankar Jaikishan Fans, we have all read and heard about the spectacular music shows and their stupendous success. The record breaking attendance and funds collected at their shows is a matter of wonder cos never before or after were such events held.
Following is a write-up by one of our members, Dennis Shah, who was fortunate enough to have attended one of SJ shows and remembers it vividly to this day.
This is verbatim of an ardent Shankar Jaikishan fan, Mr. Dennis Shah, who was a witness to one of the most memorable events in the history of music. Read on…
I have been a member of this forum for a number of years now. I can’t say that I have read every post in this forum over the years nor have I contributed to this forum but as far as I can remember I have not come across news coverage or personal reminisces, eye witness accounts of the S-J performing live. Yes, I have seen the multipart clips on YouTube of SJ Night held in 1970 at the famous Shanmukhanand Hall in Mumbai. I am not sure if many SJ devotees know that there was another event similar to the one held in Mumbai in 1970. Subsequently another SJ Night was held in Ahmedabad. Matter of fact two nights were held back to back on consecutive evenings in Ahmedabad.
I am not entirely sure about the dates but going by my personal time line it would have taken place in 1970 or more likely 1971. I do distinctly remember the two venues where the SJ night took place. The first of the two events was held in a more exclusive and intimate setting at the Seth Mangaldas town hall and the other, the bigger of the two, star studded event was held the next day before an audience of thousands in an open air arena – the newly constructed Police Stadium in Shahibaug Ahmedabad. I had the good fortune of being present at the former event.
Unfortunately, I do not have the precise dates as well as the complete details of the circumstances surrounding the events. Nor was I in the habit of maintaining a dairy. Suffice to say that both the events were fund raisers. I vaguely recall that the first night was organized by the Rotary Club for the benefit of either the Red Cross society or the Soldiers Fund.
I have no specific firsthand knowledge details of much bigger event held at the Police Stadium. The event was covered by Times of India Ahmedabad edition as well as in the vernacular press. This was the star studded event with Raj Kapor , Rajesh Khanna along with other major stars and among the actresses I believe Mala Sinha was present as well.
A recent visit to Ahmedabad brought back many memories of this remarkable evening while I was going through the mementoes and memorabilia of my youth and found Shardaji’s autographed picture that I had managed to obtain on that day. That re-discovery led me to share with the members of this forum my recollections of that event for what it is worth. I hope my recollection will be of some interest to SJ fans and will add to the growing body of information and opinion on SJ that is accumulating on-line.
As I have mentioned before the first event was a more exclusive event held at the historic town hall. This venue has had an illustrious history in the cultural life of Ahmadabad. It has hosted luminaries of classical music, the giants of the Gujarati stage, the greats and near greats of the Bombay film and music world as well as countless local college talent shows. Ahmadabad town hall was also the venue of Begum Akhtar’s last concert before she passed away later that same evening.
My being there for the first ever SJ night in Ahmedabad happened in a most serendipitous manner. Since the local electric utility company my father worked for was a major sponsor of the event, the complimentary passes were given to the CEO of the company who offered my dad some of the passes who probably told the boss that I might be interested. All this happened in a matter of hours on the day of the concert and I was whisked away in the boss’s car and found myself sitting in the second or third row of the auditorium right in the middle section of the row. I am pretty sure we were given the play bill (brochure) up on our arrival and I had it saved for many years. However, it seems to have disappeared from amongst my collectibles.
It was a thrill of a lifetime to say the least. I was in my late teens and already a diehard SJ fan by then. I must say that it was the best of times for me to be a SJ fan. It has been many years since that day but I remember certain highlights as it were yesterday. I saw the cream of Ahmedabad society seated in the front rows along with government dignitaries and local celebrities like All India Radio announcers(among them Harry Lemuel RIP) and artists.
As I recall the event began without any official speech with Amin Sayani making the introductory announcement followed by Raj Kapoor’s appearance on the stage. This (show) was the first and only time I saw RK in person and at very close quarters. I was struck by the fact that he was a very fair and handsome man. RK then introduced SJ and the show began with the full orchestra. I saw Shankar for the first and only time at this event as for Jaikishan I had seen him once before about six or seven years prior to this event while I was still in grade school. But that is another story for some other time. To me he looked the same as he had when I had first seen him.
I will now attempt to chronicle my impressions of the event in no particular sequence as best as I can after a lapse of so many years. I know memory can play tricks and can make a person imagine things that did not actually happened as they now see in their mind’s eye. I hope you will bear with me and help fill in the gaps if possible by eliciting additional information about this event from members / fans who may have further details of the circumstances surrounding this event.
Seeing and listening to the glamorous Shardaji’s sing “Titli Udi” was one the major highlights of the show. This was one of Sharda’s very first song and one of my personal favorite as I particularly liked the string and flute based musical interludes. Sharda sang many songs including Jaane Bhi De and Sun Sun Sunre.
Shankar employed a vigorous mostly one hand gesture and moved about the stage I suppose to conduct the rhythm section. Jaikishan on the other hand employed a very stylish two outstretched arms and hands gesture and seemed to be concentrating on the singer.
During the course of the program word came down that the Mohammed Rafi would not be present for this version of the SJ night. That realization left me a little bit crest fallen as I was so very much looking forward to hearing the great Rafi Saab.
Another highlight was Mukesh’s “Sangam Hoga Ke Nahi” Towards the end of the song RK appeared on stage with the bagpipe prop and danced to the song. Musically the interesting thing for me was that the bag-pipe sound was created by a bunch of flute and reed instrument players who shared a microphone on the left side of the stage. Other Mukesh songs that I recall were Sajan Re Jhoot mat bolo and Jane Kahan Gaye Who Din. There was also “Chaale Jaana Jara …” duet with Sharda.
Manna Dey sang Ai Bhi Jara.. and number of other songs as well.
I am pretty certain that there was another female singer on the bill other than Shardaji but for the life of me I cannot recall who that was.
The standup comedy interludes were presented by a young and dynamic Deven Verma in top form. There are two routines I particularly remember to this day. One was a takeoff on James Bond – Indian version of 007. The other one was about how males of different linguistic groups romance their sweethearts. He used a pillow as a prop and carried on a two way conversation. Deven with his expertise in dialects and mannerism made it absolutely hilarious and saved the best for the last by demonstrating how an American would romance his beloved by removing the pillowcase from the pillow which brought the house down.
I do not recall S or J speaking a single word to the audience during the course of the program. I also do not recall the presence of any famous movie star other than RK that night. I know I am not giving due credit to Amin Sayanee as it is virtually impossible for me to recall exactly what he said but suffice to say he was a great MC.
As for the second SJ night that took place in the open air arena in front of thousands of people was widely covered in the press. Mohammed Rafi did appear along with other stars. I remember reading in the news accounts of the event that Rajesh Khanna along with Mala Sinha (?) and other stars were present for the show.
The only way to find out definitely the singers, musicians and film stars who were present would be to have access to the news papers of that time or to elicit information from those who happened to be in the audience or were involved with the big show.
Back to the photo. I do not mean to sound self important, but we were given to understand that the photo was made available to guests in the VIP section and that Shardaji had personally signed the photo for the occasion. For all I know this may have been a standard pre-autographed publicity shot that was widely circulated at the time.
Now looking back at it after a period of nearly forty years I can still vividly recall some of the sights and sounds of that memorable evening in Ahmedabad. I consider myself very fortunate to have seen my musical heroes at close quarters at that stage in my life in peak form. These are some of the memories that will stay with me for the rest of my life.
I know there are so many people including HFM music scholars, journalists, musicians, biographers and avid fans who may have some more light to shed on this and similar events in the musical history of SJ and I would love to hear from them.
Shankar-Jaikishan, the prolific duo, reshaped Indian music with their innovative compositions. Their brilliance extended beyond melodies, creating timeless symphonies that resonate across generations. Their mastery over diverse musical genres, from classical to Western influences, showcased their versatility and ingenuity. ❤️
Their harmonious collaborations resulted in soul-stirring compositions, weaving intricate tunes that effortlessly captured emotions. The depth of their arrangements, adorned with intricate rhythms and enchanting melodies, reflected their meticulous craftsmanship.
Shankar-Jaikishan’s distinctive style not only entertained but also challenged the conventions of Indian film music. Their ability to infuse classical nuances with contemporary beats redefined the boundaries of musical expression. Their legacy endures through compositions that remain etched in the hearts of millions, a testament to their unparalleled contribution to the rich tapestry of Indian music. Their melodies continue to echo the beauty and magic of their musical genius, transcending time and enchanting listeners worldwide.
*Remembering Shri Chandravadan Bhatt – A Welknown Legend of Gujarati Theatre in Bombay on his Birth Anniversary today.
Both Shankar and Jaikishan first time met in his office and become a Legend of Film Music.* So, we consider office of Shri Chandravadan Bhatt as MILAN STHAL ( मिलन स्थल ) OF GREAT SJ.
About : Chandravadan Bhatt
Courtesy: BHAVANA BHATT ( DAUGHTER OF SHRI CHANDRAVADAN BHATT AND ACTRESS OF FILM : DO JASOOS)
My parents Late Mr. Chandravadan Bhatt and Mrs. Niharika Bhatt were connected to Gujarati Theatre. My father was the first person who had introduced Modern Gujarati theatre with sound and music. He has produced and directed so many famous and successful Gujarati films and Drama .
He is known as a legend of Gujarati theatre.” So, she proudly says that it was natural for her to opt for acting.
Remembering the legendary director T. Prakash Rao on his celestial birthday.
Shankar Jaikishan and T. Prakash Rao, Two Legends Together
Like Shankar, Tatineni Prakash Rao hailed from Andhra Pradesh, but went to work in the movie industry at Chennai. Both legends worked around the same time and together continuously for nearly four decades. Also, both remained in demand till their end. Extremely popular and successful director, T. Prakash Rao, started movie making in 1947 and continued till 1988 assisting and directing forty seven movies in Telugu, Tamil and Hindi, all with a great success rate.
The famed director came together with the legendary SJ in College Girl. He assisted L. V. Prasad in the latter’s Humrahi to direct a total of six movies with music by the composer duo.
College Girl (1960): Produced by B. L. Rawal, the movie starred Shammi Kapoor and Vyjayantimala in the lead. The album features six songs, all written by Rajinder Krishan who worked with SJ for the first time.
Sasural (1961): Prasad Production’s remake of a super hit Telugu movie, has Rajendra Kumar and B. Sarojini Devi in key roles. There are a total of eight songs in the album, all being super hits. Shailendra wrote five and Hasrat three. Rafi sang two solos and two duets with Lata while Mukesh sang two solos and one duet with Lata. The latter sang one solo. A solo and duet are filmed on Mehmood and Shobha Khote respectively. All were extremely popular. Rafi won the Filmfare Award for Best Singer for his rendition of, “Teri Pyari Pyari Surat Ko.”
Humrahi (1963): Also a remake of a Telugu blockbuster, produced by Prasad Productions, the movie cast Rajendra Kumar and Jamuna playing the lead roles. There are eight chartbusters in the album. Hasrat wrote five of them while Shailendra wrote three. Rafi sang four solos and three duets, two of them with Lata and one with Mubarak Begum. A duet with Lata was filmed on Mehmood and Shobha Khote. Lata sang a solo.
Suraj (1966): Venus Pictures produced the blockbuster which was the second highest grossing film of the year. It has Rajendra Kumar and Vyjayantimala in the lead. The movie won the Filmfare Award for Best Music Director, Best Lyricist for Hasrat and Best Playback Singer for Rafi. There are nine songs in the album. Hasrat wrote five songs, Shailendra two and the other two are instrumental. Rafi sang two solos, two duets with Asha and one with Suman Kalyanpur. Sharda sang two solos, receiving the highest number of FF nominations for Best Playback Singer, tying with Rafi.
Duniya: (1968): Amarjeet produced the movie with Dev Anand and Vyjayantimala in the lead. Another super hit album has a total of six songs. Three songs are by Hasrat, one each by Shailendra, Neeraj and S. H. Bihari. Rafi sang three solos, two of them filmed on Dev Anand and Vyjayantimala, one solo is filmed on Johnny Walker and Laxmi Chhaya. Asha sang a solo and a duet with Kishore Kumar while Mukesh sang a duet with Sharda.
Rivaaj (1972): The movie is produced by K. C. Bokadia. Sanjeev Kumar and Mala Sinha played key roles. Eight songs are featured in the album. Hasrat and Anjana wrote two songs each while Neeraj, S. H. Bihari, Indeevar and Kaifeng Ami wrote one. Rafi sang two duets, one with Manna Dey and the other with Asha. Suman Kalyanpur sang two solos. One solo each was sung by Rafi and Sharda. Kishore Kumar and Lata sang a tandem song.
T. Prakash Rao had a very remarkable association with SJ that had highly successful movies. The combination should have continued for movie makers to enjoy.
जयकिशन जी का बेहद खूबसूरत मुस्कुराता चेहरा हम सब के जहन मे बैठा हुआ है । पर उनके चेहरे की मुस्कुराहट उनके दिल की खूबसूरती थी जो चेहरे पर ठहर गई थी । राज कपूर का सन्देश लेकर जब जयकिशन लतामंगेशकर के घर गये तो लता खूबसूरती देखकर खेल गई और उन्हे ऑफिस ब्वाय समझकर अपनी बहन से कहे बिना रहा न गया “राजकपूर के ऑफिस ब्वाय भी कितने खूबसूरत होते हैं” । लता की इच्छा थी जयकिशन से शादी करने की जो न हो सका । जयकिशन भी मात्र 9 वर्ष ही शादी का सुख पा सके और अकाल मृत्यु को प्राप्त हुए ।
उनके संगीत के विषय मे सब कुछ कहा जा चुका है । जयकिशन तो एक फरिश्ता था जो थोड़ी देर के लिये धरती पर आया था और संगीत के कभी खत्म न होने वाले अमृत कलश को हमे दे कर चला गया । यह अविवादित है कि फिल्म आरज़ू का संगीत जयकिशन ने बनाया था (कव्वाली को छोड़ कर – जब इश्क कहीं हो जाता है ) । पूरी फिल्म मे उनकी बनाई धुन जो गीतों और सैक्साफोन पर पार्श्व मे बजती रहती है संगीत की एक महान संरचना है, बजते ही जो सुनने वाले को मुदित कर देती है । ये एक संरचना ही काफी है संगीत के इतिहास मे उनका नाम स्वर्ण अक्षरों मे दर्ज कराने के लिये । पर उन्होंने तो ऐसी सैंकड़ों रचनायें की ।
जयकिशन का यूं असामयिक चले जाना एक त्रासदी थी संगीत प्रेमियों के लिये । ये उन्हें सालों साल सालती रहेगी । उसके साथ ही तथ्य कि उनकी मृत्यु का रहस्य कभी शायद न खुल पाये । कहने को तो वो अधिक शराब पीने से मरे.
पर वो क्या दुख था जो उन्हें अधिक शराब दोपहर से ही पीने को मजबूर करता था । ये रहस्य अब तक नहीं खुला है और लगता है न ही खुलेगा ।
सब कुछ के बावजूद हमारे लिये संगीत का अमृत कलश छोड़कर जाने वाले जयकिशन जी को मेरी दिली श्रद्धाँजलि ।
Remembering Jai I was in Chennai on the day Jaikishan died and something in me also died. The SJ remained as duo by name but i stuck to the music of the duo before jai died. Jai did the PR work because he was more a socialite of the two and with his charming smile won over all as a person too. I had the occasion to meet him on a few occasions. He had great regard for other composers including those from South. I met him when he attended the KV Mahadevan night and recalled our meeting at Lekh Tandon’s home which was the apartment above ours in Chembur. Like all youngsters of the day i was star struck by his personality . My tribute is three selections that always stuck to me because i presume the ‘Jai touch’ was there. The song from Sangam is a poetry in music with a great intro and ending and Raj Kapoor added colour with flowers. The use of violas and cello added depth to the song in the counter point melody and piano played its role as Vyjayanthimala flew down the stairs. Jaane Kahan gaye in Raag Shivranjani a heavily orchestrated heart wrenching song. The last song from Andaz was the swan song for Jai his last, in raga Bairavi his favourite, in a joyful fast mode with a philosophy in lyrics. How present is a gift and who knows about the future? Ironically, Bairavi is mostly the final raga in a Hindustani Classical music concert. I am told this song was played in the funeral procession of Jai. Am not sure. Remembering him always through his music.🏵️ A tribute to the emperor of Hindi Cinema music world Jaikishan on his death anniversary – The best of Shankar Jaikishan in 10 songs 🏵️
Shankar Jaikishan were arguably the most commercially successful Hindi film music directors during the 1950s & 60s. Shankar Singh Raghuvanshi & Jaikishan Dayabhai Panchal were an unlikely pair brought together by circumstances. It was Raj Kapoor, who first spotted their talent during the making of the film Aag (1948). Shankar and Jaikishan were assisting music director Ram Ganguly in the film. A tiff with music director Ram Ganguly resulted in Raj Kapoor picking newcomers over him to compose music for his next film “Barsaat” (1949). The spectacular success of Barsaat and the chemistry and camaraderie they enjoyed with Raj Kapoor established them as RK Films’ in-house music directors over the next two decades or so.
Shankar Jaikishan’s musical talent was matched by their keen business sense & their music evolved with the changing taste of filmgoers. The duo went from composing folk-influenced melodies in the beginning of their career to raucous crowd-pleasers towards the end. An important facet of their music was the creative tension between Shankar and Jaikishan. Although they recorded their songs together, they composed music independently. They never took individual credit officially and a Shankar–Jaikishan film had a mix of songs composed by each. Another important aspect of their career was their steady partnership with lyricists Shailendra and Hasrat Jaipuri. If a producer engaged Shankar–Jaikishan, it was understood that Shailendra and Hasrat Jaipuri were part of the deal. Such was Shankar Jaikishan’s affinity to their partner lyricists that they turned down a film as prestigious as Waqt (1965) because BR Chopra insisted on engaging Sahir Ludhianvi for writing the film’s lyrics.
A series of tragic events virtually ended the Shankar Jaikishan’s career in 1971 – Shankar’s favourite lyricist Shailendra passed away in 1966, Raj Kapoor parted ways with them after Kal Aaj Aur Kal (1971) and finally, Jaikishan passed away in 1971. Even after Jaikishan’s death, Shankar continued composing for films as Shankar Jaikishan till he died in 1987.
Here is a list of 10 the best songs by the duo Shankar Jaikishan (someone may disagree with due to personal likings) –
🎧 01. Barsaat (1949) – Barsaat was the coming together of RK Films’ dream team for the first time— Raj Kapoor, Nargis, Shankar–Jaikishan, Mukesh, Lata Mangeshkar, Shailendra and Hasrat Jaipuri. The film’s preeminence in RK Film’s filmography is evident from the fact that its poster art went on to become the logo for RK Films. Remarkably, the entire team of music directors and lyricists in the film consisted of debutants. History tends to forget them but other than Shankar–Jaikishan, Shailendra and Hasrat Jaipuri, two other lyricists made their debut in the film— Ramesh Shastri and Jalal Malihabadi. This feat of a rookie team coming up with a score that’s counted amongst the best Hindi film scores of all time remains unmatched to this date. My pick from the film is ‘Hawa Mein Udta Jaye’, featuring the honey-voiced Lata Mangeshkar. Lyricist Ram Shastri wrote a few more songs in his short career but ‘Hawa Mein Udta Jaye’ remains his lasting legacy.
🎧 02. Awara (1951) – RK Films’ dream team returned with Awara and, with its success, proved that Barsaat wasn’t beginners’ luck. In the span of two years, Shankar–Jaikishan had grown as composers and in Awara they delivered a score that was more eclectic and sophisticated than Barsaat. Awara was a fantastic score overall with songs for every mood and a spread of musical genres. One song in the film was the essence of its score in this regard, the famous dream sequence medley of ‘Tere Bina Aag Yeh Chandni’ and ‘Ghar Aaya Mera Pardesi’. Talking about Shankar-Jaikishan’s growth as musicians, part of it was about them drawing inspiration from other artists. ‘Ghar Aaya Mera Pardesi’ was a fairly close adaptation of the 1935 song ‘Ala Baladi Elmahboub’ by the Egyptian diva Umm Kulthum. Also on display in this song was their craft at composing songs to fit the film’s narrative. The fact that the song represented a dream allowed Raj Kapoor to take artistic liberties. The result was a theatrical sequence with elaborate sets, smoke, special effects and extras. A sequence this elaborate needed music to match and Shankar–Jaikishan delivered exactly that. The song’s mood ebbed and flowed, the chorus was dramatic and the arrangement elaborate, but the song’s core – Lata’s singing and a mandolin – was simply exquisite.
🎧 03. Patita (1953) – Patita doesn’t get talked about enough in Shankar–Jaikishan’s discography perhaps because it doesn’t sound much like their typical film album. Perhaps because they had reserved Mukesh’s voice for Raj Kapoor, they chose Hemant Kumar and Talat Mahmood for Dev Anand. They chose a ghazal-based, mellower sound for Patita, instead of the simple, folk sounds that worked well with Raj Kapoor’s ‘Raju’ persona. ‘Yaad Kiya Dil Ne Kahan Ho Tum’ has already appeared in the post on Hasrat Jaipuri in this series. My other pick from the album is Talat Mahmood’s dulcet solo, ‘Hain Sabse Madhur Woh Geet Jinhen Hum Dard Ke Sur Mein Gaate Hain’. Shailendra’s mukhda for the song was inspired by a line from PB Shelley’s ‘To A Skylark— “Our sweetest songs are those that tell of saddest thought”.
🎧 04. Jis Desh Mein Gagna Behti Hai (1960) – Jis Desh Mein Ganga Behti Hai was a wholesome, typically Shankar Jaikishan score with a combination of Mukesh and Lata duets and solos. My pick from the film, ‘O Basanti Pavan Paagal…’, is an example of a strategy that worked very well for Shankar Jaikishan. Many of their songs originated as tunes they experimented with in the background score of past films. For example, they first formulated ‘O Basanti’ in the score for Awara. Lata Mangeshkar, although a tad dramatic in places, sings her heart out.
🎧 05. Seema (1955) – Naushad’s Baiju Bawra (1952) made classical music an important part of Hindi film music of that period & Shankar Jaikishan realised that it would have to be a part of their repertoire. They made concerted efforts in this direction in “Seema”. The result was a semi-classical Manna Dey solo, ‘Tu Pyar Ka Saagar Hai’— a Lata song with some fantastic sarod play by Ustad Ali Akbar Khan, ‘Suno Chhoti Si Gudiya Ki Lambi Kahani’ and my pick from the film, ‘Man Mohana Bade Jhoothe’, an excellent Raag Jaijaivanti composition rendered superbly by Lata Mangeshkar.
🎧 06. Shree 420 (1955) – Shree 420 was the most evolved product of a formula Raj Kapoor had worked on refining in Barsaat and Awara. The results at the box office validated Raj Kapoor’s vision and Shree 420 became the first film to break the Rs 2 crore barrier. Raj Kapoor and Shankar–Jaikishan faced a significant roadblock during the film’s making. After singing two songs for the film, Mukesh excused himself from it. Mukesh had aspirations of becoming an actor and for a lead role in Mashooqa, he had ill-advisedly signed a contract that forbade him to sing for other films till it was released. Left high and dry, Shankar–Jaikishan brought in Manna Dey. A quirk of fate resulted in Manna Dey singing what is one of the most romantic songs in Hindi films—‘Pyar Hua Ikrar Hua’—and gave his career the boost he deserved. My pick from the film is Shree 420 is ‘Ramaiya Vastavaiya’. The story is that ‘Ramaiya Vastavaiya’. The story is that Shankar, who grew up in Hyderabad, composed the song using Telugu lyrics. When he sang the tune for Hyderabad, composed the song using Telugu lyrics. When he sang the tune for Raj Kapoor’s approval, he asked Shankar to retain the Telugu lyrics. The song was a big hit. Telugu lyrics. The song was a big hit. Raj Kapoor’s inputs were an integral part of Shankar–Jaikishan’s music making process and resulted in many such hit songs.
🎧 07. Basant Bahar (1956) – Basant Bahar was Shankar–Jaikishan’s answer to Naushad’s Baiju Bawra. Unlike Baiju Bawra, which was a critically acclaimed film, the only redeeming feature in Basant Bahar was its outstanding music. If Naushad leaned on maestros Ustad Amir Khan and DV Paluskar for authenticity, Shankar Jaikishan sought Pandit Bhimsen Joshi’s expertise. It is said that Manna Dey initially resisted the idea of singing (and winning) the competition jugalbandi ‘Ketaki Gulab Juhi’ with the maestro. He even went into hiding after the film’s release to escape possible embarrassment. He need not have worried. The audiences overlooked the cinematic liberty and lapped up the film’s music. The song of the film, however, happens to be the Manna Dey solo ‘Sur Naa Saje Kya Gaoon Main’. He sang the song with so much soul, sensitivity and finesse that he probably outdid Mohammed Rafi’s Baiju Bawra with just this one song.
🎧 08. Chori Chori (1956) – Chori Chori was the last time Raj Kapoor and Nargis came together to play lead roles. Their chemistry was so palpable that despite very little physical intimacy, they sizzled on-screen, especially in the two Lata-Manna duets ‘Yeh Raat Bheegi Bheegi’ and ‘Aaaja Sanam Madhur Chandni Mein Hum’. My pick from the film is ‘Aaja Sanam’ because it showcases an instrument that featured prominently in ShankarJaikishan’s music and came to be identified as Raj Kapoor’s instrument of choice onscreen— the accordion. The nifty accordion play in ‘Aaja Sanam’ was by Goody Servai, the steady accordionist in Shankar-Jaikishan’s team. Chori Chori won the music director duo the first of their nine Filmfare Awards.
🎧 09. Anari (1959) – Anari saw an old friend returning to Shankar–Jaikishan’s team. Mukesh decided to resume focus on his singing after losing a precious few years in pursuit of an acting career. Shankar–Jaikishan welcomed back Mukesh as Raj Kapoor’s singing voice with open arms. Mukesh’s return resulted in a simpler, folksier score than the ones Shankar–Jaikishan has composed without him. My pick from the film is the waltzy Mukesh-Lata duet ‘Dil Ke Nazar Se’. Melodious and easy on the ear as the tune is, two elements in the song are nothing short of breathtaking— Lata Mangeshkar’s singing and the blistering accordion. Shankar–Jaikishan won their second Filmfare Award for Anari.
🎧 10. Ujala (1959) – Ujala is one of the coin-toss picks in this list. It was Shankar Jaikishan’s first film with Shammi Kapoor and the beginning of a collaboration that would be mutually beneficial to both but would come at the expense of Shankar Jaikishan’s music taking on a louder, noisier texture to suit Shammi Kapoor’s onscreen persona. ‘Jhoomta Mausam Mast Mahina’ was a milder version of what we would see a lot more of from Shankar Jaikishan in the 1960s. Interestingly, they chose Manna Dey and Mukesh for Shammi Kapoor’s voice in the film even though Rafi had done a fantastic job in the actor’s first hit Tumsa Nahin Dekha (1957). My pick from the film, ‘Duniyawalon Se Door’, is the rare Mukesh song on Shammi Kapoor.
👋 Thanks to Param Arunachalam : Source DNA. Compiled by Suresh Sarvaiya
संगीत राजकपूर की फिल्मो की जान होता था राज कपूर के बारे कहा जाता है की को संगीत के मामले में किसी से कोई समझौता नहीं करते थे…… एक ऐसा ही गाना है सन 1961 में बनी उनकी फ़िल्म “जिस देश मे गंगा बहती है” का, जिसके बोल हैं – ….
“आ अब लौट चलें, आ अब लौट चलें, नैन बिछाए बाहें पसारे, तुझको पुकारे देश तेरा…”
इस सदाबहार अमर गीत को अपनी आवाज़ से संजोया था मुकेश, लता मंगेशकर और अनेको साथियों ने ये गाना इस लिए खास है क्योंकि इस गाने में उस समय का अब तक का सबसे ‘बड़ा ऑर्केस्ट्रा’ इस्तेमाल हुआ जिसमें – 60 कोरस कलाकार, 60 वायलिन, 12 सेलोस वाद्य, 4 डबल बास, 2 मैंडोलिन, 12 रिदम-सेक्शन, 2 सितार, 10 ब्रास ट्रमफेट, 6 साइड रिदम और 2 मुख्य गायक ने भाग लिया था ….
इस मशहूर गीत की रिहर्सल सुबह 11 बजे बॉम्बे (अब मुम्बई) के प्रसिद्ध तारदेव रिकॉर्डिंग स्टूडियो में शुरू हुई अब इतने बड़े में भी स्टूडियो में जगह की कमी के कारण कोरस के बड़े हिस्से को हॉल के बाहर बैठाया गया था फ़ाइनल रिकॉर्डिंग सुबह 3 बजे की गई, क्योंकि उस समय ट्रैफ़िक न के बराबर होता था वैसे भी 1961 में मुंबई की रातें शांत होती थीं आज की तरह भागम भाग और बेहताशा ट्रेफिक का शोर नहीं थी उस समय वर्तमान समय की तरह मल्टीट्रैक या ऑडियो पंचिंग की सुविधा नहीं थी पूरा गाना संगीत सहित एक ही टेक में गाना पड़ता था निरंतर बिना ब्रेक के रिकॉर्डिंग के प्रदर्शन का श्रेय संगीतकारों और गायकों साजिंदों, टेक्निशियंस अरेंजर्स और प्रोड्यूसर्स को जाता है….इस गाने में कोरस में जो कलाकार है उनका काम तो लाज़वाब है ही लेकिन बीच बीच में लता जी का शानदार अलाप सोने पे सुहागा का काम करता है अभिनेत्री पद्मिनी और प्राण और सुरक्षाबलो के शॉट्स गाने के साथ साथ आते है …
इतने बड़े ऑर्केस्ट्रा के साथ इस गीत को रिकॉर्ड करने का श्रेय रिकॉर्डिस्ट “मीनू कात्रक” को जाता है उस समय अब स्व. श्री डी. ओ. भंसाली, प्रसिद्ध फिल्मकार संजय लीला भंसाली के पिता, असिस्टेंट बॉय थे इस गाने के स्वप्नदर्शा थे भारतीय सिनेमा के सबसे बड़े शोमैन राज कपूर, भारतीय सिनेमा संगीत की लाजवाब जोड़ी शंकर जयकिशन और स्वभाव से फक्कड़ लेकिन मन के तारों को झुंझुनाने वाले गीतकार शैलेंद्र (शंकरदास केसरीलाल). म्यूजिक अरेंजर्स थे द ग्रेट सबेस्टियन और भूले बिसरे संगीतकार दत्ताराम ……. आज तक भारत में किसी भी संगीत निर्देशक ने किसी एक गीत की रिकाडिंग के लिए ऑर्केस्ट्रा के इस स्तर को नहीं छुआ इस गीत से जुड़े सभी ज्ञात और अज्ञात लोग बधाई के पात्र है
यह गाना फिल्म के कलाइमेक्स में तब आता है जब ग्रामीणों और पुलिस की विशाल सेना और डकैतों के बीच चरम टकराव होने वाला होता है लेकिन राजू (राजकपूर) मध्यस्थ बनकर खूंखार डकैतों को आत्मसमर्पण के लिए मना लेता है निहत्थे डकैत अपने परिवारों के कारवां और अपने मुखिया राका (प्राण) के साथ चलते हुए,गाते हैं “अब आओ, चलो लौटें” (समाज में) और पुलिस के राइफलधारी सैनिक उन्हें घेर कर चलते है कम्मो (पद्मिनी ) जबलपुर के पास नर्मदा नदी की टेढ़ी-मेढ़ी गहरी घाटियों में भागते हुए राजू का पीछा करती है
एक बार राज कपूर मॉस्को यूथ फेस्टिवल में शामिल होने रूस गए थे वहां पद्मिनी को ‘बेस्ट क्लासिकल डांसर का अवॉर्ड’ अवॉर्ड प्राप्त हुआ था उनकी डांस परफॉर्मेंस देखकर राज कपूर हैरान रह गए उनको लगा यही तो वह लड़की है, जिसकी उन्हें तलाश थी राज कपूर ने तभी अपनी फिल्मों में पद्मिनी को मौका देने का मन बना लिया और इस तरह पद्मिनी की किस्मत पलट गई …लेकिन राजकपूर की मनपसंद दोनों अभिनेत्रियों वैजयन्ती माला और पद्मिनी में नृत्य को लेकर हमेशा प्रतिस्पर्धा बनी रही …
इस फिल्म की शूटिंग जबलपुर के भेड़ाघाट में हुई थी उस समय ये ऐसी पहली फिल्म थी जिसे भेड़ाघाट में फिल्माया गया ……भेड़ाघाट भारत के मध्य प्रदेश राज्य में जबलपुर जिले का एक शहर है दरअसल रीवा में राज कपूर की ससुराल थी शुरू से ही मध्य प्रदेश उनका आना-जाना रहा यहां भेड़ाघाट के प्रति उनका आकर्षण गजब था उन्होंने ‘जिस देश में गंगा बहती है’ के ‘ओ बसंती पवन पागल…’ गाने की शूटिंग भी यहीं की थी जिसे पद्मिनी पर फिल्माया गया इसके बाद तब से आज तक इस जगह पर तमाम फिल्मों की शूटिंग हो चुकी है और मध्य प्रदेश पर्यटन विभाग ने इस जगह को विकसित भी किया जहाँ पर्यटक इसे देखने आते है …..ये फिल्म राजकपूर की थी लेकिन इसे निर्देशित उनके मनपसंद सिने फोटोग्राफर ‘राधू करमाकर ‘ने किया था ये उनका हुनर ही था की धूल उड़ाती पहाड़ियाँ ,और बीहड़ भी हर फ्रेम में खूबसूरत लगे …. फ़िल्म को 1960 के फ़िल्मफ़ेयर पुरस्कारों में सर्वश्रेष्ठ फ़िल्म के अलावा तीन अन्य श्रेणियों में पुरस्कृत किया गया था
“Awaara Hoon….” is a legendary Bollywood song from the film ‘Awaara’, released in 1951. The song is composed by Shankar Jaikishan, with lyrics penned by Shailendra. It features the iconic actor Raj Kapoor, who also directed the film, and is sung by the legendary playback singer Mukesh. “Awaara Hoon” remains one of the most enduring and beloved songs in Indian cinema.
Lyrically, “Awaara Hoon” captures the essence of a free-spirited wanderer, celebrating his carefree and nomadic lifestyle. The song explores the themes of love, longing, and societal alienation, resonating with audiences even to this day. Shailendra’s poetic lyrics beautifully convey the emotions of the protagonist, blending melancholy with a sense of liberation.
Musically, the song showcases the brilliance of Shankar Jaikishan, who were known for their innovative compositions. “Awaara Hoon” features a memorable melody with a distinct Indian classical influence. The opening strains of the accordion create a haunting and melancholic atmosphere, setting the tone for the song. The orchestration gradually builds up, incorporating various instruments like the sitar, harmonium, and tabla, adding depth and richness to the composition.
Mukesh’s soulful rendition brings the character to life, infusing the song with raw emotion. His deep and resonant voice perfectly captures the inner turmoil and vulnerability of the protagonist. The simplicity and sincerity in his delivery strike a chord with listeners, making “Awaara Hoon” an unforgettable musical experience.
The picturization of “Awaara Hoon” further enhances its impact. Raj Kapoor’s charismatic on-screen presence and expressive acting elevate the song to another level. The black and white cinematography, combined with the picturesque settings, create a timeless visual appeal. The song’s choreography, characterized by Raj Kapoor’s signature dance moves, adds charm and liveliness to the performance.
Apart from its musical and cinematic brilliance, “Awaara Hoon” holds significant cultural and social relevance. It captures the essence of the post-independence era in India, exploring themes of poverty, injustice, and the struggles of the working class. The song struck a chord with the masses, who found solace and identification with the portrayal of societal issues.
Even after several decades, “Awaara Hoon” continues to be celebrated and cherished. Its popularity has transcended generations, and the song remains an integral part of Bollywood’s musical legacy. It serves as a reminder of the power of music to convey complex emotions, evoke nostalgia, and resonate with audiences across time.
With its poignant lyrics, soulful rendition, and memorable composition, the song has left an indelible mark on Indian cinema. It encapsulates the spirit of the era while addressing timeless themes, making it a timeless classic that continues to captivate listeners even after decades of its release.
SHANKAR-JAIKISHAN 